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taleoftalespod · 3 years

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Tale of Tales | episode: 2.01 “Beauty From Ashes (Part 1)”

Once there was a young noblewoman enslaved by her stepfamily...

In our first episode of season two of Tale of Tales, we'll explore patriarchal European beauty standards, the sordid and surprising interplay of colonization and international trade, and how (not) to try and get your foot to fit a shoe just a teensy bit too small...

https://www.buzzsprout.com/800948/8717612-2-01-beauty-from-ashes-part-1.mp3?download=true

Tales on this episode:

Charles Perrault, “Cendrillon, or The Little Glass Slipper”, Tales of Mother Goose, trans. Andrew Lang (0:06:46-0:23:49)

Jakob and Wilhelm Grimm, “Aschenputtel”, Children’s and Household Tales, trans. D. L. Ashliman (0:27:35-0:47:23)

Giambattista Basile, “The Cinderella Cat”, Il Pentamerone, or The Tale of Tales, trans. Nancy Canepa (0:57:09-1:14:59)

Lin Lan, “Beauty and Pock Face”, Folktales of China, trans. Wolfram Eberhard and Desmond Parsons (1:24:23-1:37:42)

Cyrus Macmillan, “The Indian Cinderella”, Canadian Wonder Tales (1:42:20-1:49:52)

Ai-Ling Louie, Yeh-Shen: A Cinderella Stort from China (1:54:11-2:07:21)

All Music Licensed under Creative Commons BY Attribution 4.0 License

http://creativecommons.org/licenses/by/4.0/

Track list:

"Wanderer" by Alexander Nakarada (0:00:00-0:01:32)

"Sonata in C Minor" by Kevin MacLeod (0:06:46-0:10:26; 0:18:53-0:19:24)

"Dreams Become Real" by Kevin MacLeod (0:11:10-0:17:17; 1:03:02-1:06:01; 1:47:33-1:49:49)

"The Endless" by Kevin MacLeod (0:19:24-0:21:09)

"To The Ends" by Kevin MacLeod (0:21:09-0:23:44; 0:37:52-0:40:18)

"Virtutes Instrumenti" by Kevin MacLeod (0:27:35-0:30:15)

"Sonata 17" by Kevin MacLeod (0:30:15-0:31:22; 1:12:05-1:15:00)

"Love Song" by Kevin MacLeod (0:32:29-0:37:18)

"Danse Macabre - Light Dance" by Kevin MacLeod (0:40:18-0:41:11)

"Danse Macabre - Finale" by Kevin MacLeod (0:41:11-0:41:34)

"Danse of Questionable Tuning" by Kevin MacLeod (0:42:53-0:43:57; 0:44:42-0:45:44)

"Royal Coupling" by Kevin MacLeod (0:46:06-0:47:24)

"Suonatore di Liuto" by Kevin MacLeod (0:57:09-1:01:10)

"Teller of the Tales" by Kevin MacLeod (1:01:25-1:02:16)

"Call To Adventure" by Kevin MacLeod (1:06:01-1:07:37)

"Hidden Agenda" by Kevin MacLeod (1:08:07-1:09:33)

"Master of the Feast" by Kevin MacLeod (1:09:49-1:10:43)

"Procession of the King" by Kevin MacLeod (1:10:43-1:11:58)

"Guzheng City" by Kevin MacLeod (1:24:23-1:26:10)

"Satiate Strings" by Kevin MacLeod (1:26:44-1:27:27)

"Ishikari Lore" by Kevin MacLeod (1:27:31-1:29:25; 1:59:11-2:00:08; 2:01:30-2:02:15)

“Return of Lazarus” by Kevin MacLeod (1:30:10-1:31:46)

“Truth in the Stones” by Kevin MacLeod (1:32:50-1:37:42)

“The Sky of Our Ancestors” by Kevin MacLeod (1:42:20-1:47:33)

“Eastern Thought” by Kevin MacLeod (1:54:12-1:59:11)

“Tempting Secrets” by Kevin MacLeod (2:00:31-2:01:30; 2:02:15-2:03:11; 2:06:35-2:07:23; 2:12:21-2:13:30)

“Opium” by Kevin MacLeod (2:03:11-2:06:30)

Episode Bonus: Little Saddleslut, the Greek Cinderella

While we only touched on a few in this episode, there are countless European variants on the Cinderella tale, most of them recorded after the Brothers Grimm, and not all of them have a protagonist whose nickname revolves around ashes or cinders. One recorded by Edmund Martin Geldart in his 1884 Folk-Lore of Modern Greece goes like this: Three sisters spinning flax decide to kill and eat their mother since she keeps dropping her spindle. The elder two butcher and cook her, but the youngest regrets the decision and refuses to partake, sitting on a saddle in the corner and weeping, which earns her the nickname “Little Saddleslut”. She buries the bones under the hearth only to find them transformed into a cache of gold coins and spectacular heavenly clothing.

On Sunday after her sisters go to church she washes up and dresses in the clothing and goes herself, but throws a handful of gold coins to distract everyone when she leaves. Her clothing is too bright for her sisters to recognize her. On her third try at doing this, she also loses a gold shoe, and the king’s son finds it and declares he will marry the woman it fits. Saddleslut profusely refuses to try on the shoe or marry the prince, but reluctantly does both.

When she gives birth to a baby, her sisters sneak her away in a chest and toss it in a river. An old woman finds her and frees her, and Saddleslut prays to God for shelter in the dark wilderness. God gives her a magic cottage where all the furniture talks to her and obeys her orders. Hunting in the woods, the prince comes across the cottage and awkwardly reunites with her. At her direction, the cottage uproots and takes them back to the city, where the prince chops her sisters into pieces.

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afishtrap · 7 years

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This article analyzes the techniques by which the kings of the early Sasanian dynasty engaged the past and shaped the experience of future generations. I concentrate on the innovations and legacy of the first two kings of kings of the dynasty, Ardashir I (r. 224–239/40 C.E.) and his son Shapur I (239/40–270/2 C.E.). These sovereigns fashioned a new and politically useful vision of the past to establish their dynasty's primacy in Persia and the wider Iranian world, eclipsing their Seleucid, Fratarakid, and Arsacid predecessors. I identify and examine the artistic, architectural, and ritual means by which the early Sasanians conformed the built and natural environment of their homeland to their grand new vision of the past. I argue that the Achaemenid patrimony of the province of Pars played an important role in these efforts, serving as inspirations and anchors for the Sasanians' new creations.

Matthew P. Canepa. "Technologies of Memory in Early Sasanian Iran: Achaemenid Sites and Sasanian Identity." American Journal of Archaeology, Vol. 114, No. 4 (October 2010), pp. 563-596.

The Sasanian dynasty had its roots in the province of Pars in southwestern Iran, the homeland of the Achaemenid empire (fig. I).10 Although their empire had been defunct for centuries, the ruined palaces, sacred sites, and tombs of the Achaemenid kings of kings still loomed large on the physical and ideological horizons of Pars long after their fall. The vestiges of this great, yet half-understood, Persian heritage confronted all who held power in the province and eventually stimulated the Sasanians' own memorial and monumental practices. The most impressive concentration of visible Achaemenid remains in Pars lay at the western end of the Marv Dasht plain. Here, the plain meets the mountains, and the Polvar River divides the mountains into two spurs, the Hosayn Kuh to the north and the Kuh-e Rahmat to the south. Persepolis' massive platform rose below Kuh-e Rahmat, while, about 6.25 km to the north, the Achaemenids' royal necropolis, called today by its New Persian nickname of Naqsh-Rostam, marked the final spur of the Hosayn Kuh. Be tween these two ancient sites grew Staxr, post-Achae menid Pars' principle city and religious center.11 From at least the early Sasanian period, the inhabitants Pars conceived of Staxr, Persepolis, and Naqsh-e Ros tam as a whole.12 With their colossal architecture and fine relief sculpture, Persepolis and Naqsh-e Rostam emerged as objects of special pride and fascination for the post-Achaemenid rulers of Pars and, eventually, became the raw material out of which the Sasanians crafted their early expressions.13

While they presented themselves as the true stewards of the ancient Persian sites, the Sasanians' memo rial activities owed a great deal to their more proximate predecessors in the region. Indeed, the Sasanians initially drew from, and reacted to, the accumulated Hellenistic, Arsacid, and local post-Achaemenid Persian reinterpretations of the sites. After entering Parsa in 331 B.C.E., Alexander held victory games and banquet at Persepolis, a celebration that culminated in the destruction of the palace.14 While, in this instance, Persepolis served as a monument to Hellenic vengeance, other Achaemenid structures retained their original significance. Alexander made a show of caring for the Tomb of Cyrus to associate himself with the founder of the Achaemenid dynasty.15 Persepolis' significance as an aggressive, Macedonian victory monument did not endure long after Alexander's death. Despite its damaged state, the multivalent symbolic potential of the site attracted Alexander's successors quickly thereafter for different goals (see table 2). In 316, Peukestas, Alexander's companion whom he had appointed governor of Parsa, staged an elaborate banquet for his army at Persepolis before the showdown between Eumenes and Antigonos Monophthalmos, where he conducted lavish sacrifices to Alexander and Philip.16 The banquet hosted both Macedonian and Iranian contingents, and its seating arrangements and sacrifices evoke Persian protocol.17 This suggests that Peukestas, popular and trusted among the Persian nobility, intended to capitalize on Persepolis as an open-ended symbol that could speak to the event's different constituencies.18

[...]

In addition to their regalia, the Fratarakids incorpo rated into their coins aspects of the most prominent features of Achaemenid royal architecture and architectural ornament that still existed around them.28 Most of the Fratarakid coins depict a winged disk with a male bust emerging from it, recognizable on every Achaemenid royal tomb, many prominent reliefs at Persepolis, and many seals (fig. 2).29 On most issues, this divine figure hovers over a stepped rectangular structure with coffering or coffered doors that recalls Achaemenid architectural forms and post-Achae menid crenellations at Persepolis. Speculations on the identity of the structure on the reverses of the coins have proliferated; however, the most cogent interpretation of the iconography, not to mention the only one grounded in primary source material (i.e., archaeological evidence), argues that it was inspired by Achaemenid architecture, possibly the Achaemenid towers such as were built at Naqsh-e Rostam and Pasar gadae.30 Although we will likely never know the exact function or identity of the structure, on most issues, a male figure stands next to it in a posture directly in spired by the composition and posture of the Achaemenid kings of kings on their tombs: the figures face right, raising their right hand to the winged figure above. The figures hold their bow with the bowstring facing away from the object of veneration. This is the same posture of respect shown by the Achaemenid sovereigns on the tomb reliefs. The bow, however, is of a contemporary, recurve style, rather than a direct copy of those on the Achaemenid reliefs.31

A discrete break with early Fratarakid coin types occurs only after Pars submitted to the Arsacids.32 The coinage of Wadfradad II, the first ruler of Pars thought to acknowledge Arsacid suzerainty, marks a transition, and after Darew II, the obverse portraits clearly follow Arsacid royal iconography.33 The reverse types change as well but do not follow Arsacid models. Achaemenid iconography appears also to have inspired these new types. The reverses of most of these portray a male figure in profile, facing a fire altar broadly similar to the fire altars on all Achaemenid tombs and many of the seals.34

The Fratarakids built both on and near the plat form of Persepolis. A group of structures located 300 m north of the platform show characteristics of a palace and a shrine where the inhabitants honored the gods with a statue, a fire, or some combination thereof.35 These post-Achaemenid mudbrick structures employed some carefully chosen and reworked Achaemenid stone architectural members, such as a doorjamb and lintel, all taken from material at Perse polis.36 The Fratarakids removed a doorway from the tacara (private palace) of Darius I. With its depictions of beardless eunuch servants in profile wearing Persian robes and carrying personal articles of the king (as in other relief sculpture there), incorporated into its new context, it is possible the Fratarakids gave these figures a new interpretation or identity. A windowjamb associated archaeologically with the sacred area of the complex carries the simple, low-relief images of two figures in profile. They hold ritual paraphernalia in their hands in a contemporary Middle Iranian gesture of reverence.37 The window that the jamb decorated communicated with the antechamber to the inner sacred area, linking their actions to the sacred area inside.38 Although they were Fratarakid creations, the iconography on these reliefs responds to and reinterprets aspects of the Achaemenid reliefs, adapting their striding profile and outstretched, raised arms to contemporary post-Achaemenid, Persian visual culture. If Islamic accounts can be believed, the Temple of Anahid in Staxr, of which the Sasanians took over the hereditary priesthood, similarly integrated elements of Achaemenid architecture such as bull capitals and reliefs.39

More remarkable for their absence, the Arsacids apparently never sponsored any activity in the Achaemenid ruins of the province, nor did they carve a rock relief in Pars near the Achaemenid tombs. Arsacid kings appeared in monuments in other provinces in their empire, such as the rock relief of Mithridates I at Khong-e Nowruzi, deep in Elymais.40 One can conjecture that this dearth of Arsacid evidence in Pars is the result of the Sasanians' particularly thorough job of obliterating their monuments, as occurred at Bisotun, or simply because by this time, Persepolis and Naqsh-e Rostam no longer held any special significance beyond the province. Bisotun, the site of Darius I's monumental rock relief and inscription, preserves limited evidence of Arsacid engagement with the Achaemenid site. Al though they do not match the scale or intricacy of the Sasanian material in Pars, Mithridates II, Gotarzes II, and a king named Vologases carved reliefs several meters distant, on Bisotun's lower rock face or in the field to the north, though, given their orientation, these were intended to engage with Bisotun's walled sanctuary below rather than with Darius I's relief.41

[...]

The founder of the Sasanian empire, Ardashir I, led his family's rise from obscure, local garrison commanders to provincial kings by systematically assassinating neighboring chieftains and annexing their domains.42 The family overthrew the king of Pars in 212 C.E., setting up an eventual conflict with the Arsacid king of kings, Ardawan IV. During the Sasanians' bloody two-decade rise from local dynasts to kings of kings, Pars' monumental patrimony again played an important role as raw material for expressing a vision of Iranian kingship for a new regime. Once in power, the Sasanians took possession of Staxr and its surrounding symbolic landscape, being driven to match and supercede their predecessors' engagement with the Achaemenid structures.

#archaeology #iran #research #middle east #pre-history #jstor

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olko71 · 5 years

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New Post has been published on All about business online

New Post has been published on http://yaroreviews.info/2019/04/german-ambitions-evaporate-as-deutsche-bank-merger-talks-with-commerzbank-collapse

German ambitions evaporate as Deutsche Bank merger talks with Commerzbank collapse

FRANKFURT (Reuters) – German hopes of creating a national banking champion able to challenge global competitors were dashed on Thursday when Deutsche Bank & Commerzbank ended merger talks due to the risks of doing a deal, restructuring costs & capital demands.

Germany’s two largest banks announced that nearly six weeks of high-level negotiations approximately a tie-up had ended in failure, confirming an earlier Reuters report & immediately raising questions approximately the future of the Frankfurt-based rivals.

The decision to ditch the talks followed a final early morning assembly between Deutsche Bank Chief Executive Christian Sewing & his Commerzbank counterpart Martin Zielke, two sources told Reuters.

Both CEOs said a deal would not have created sufficient benefits to offset the risks & costs of a merger, which had been opposed by unions fearing 30,000 job losses, & raised concerns among investors & regulators.

While the talks are over, investors doubt either bank can go it alone for long under their current strategies given their low levels of profitability.

German government officials, led by Finance Minister Olaf Scholz, had pushed for a tie-up to create a national banking champion & end questions over the future of both banks, which have struggled to recover since the financial crisis.

Deutsche Bank’s 2018 return on fairness was just 0.4 percent, trailing far behind rival U.S., & increasingly other European, investment banks, while Zielke said this month that Commerzbank does not have the market share for costly investments, fuelling speculation of an alternative tie-up whether talks fell through.

Shares in Commerzbank were 2.1 percent lower at 1235 GMT. Deutsche Bank traded 0.3 percent lower, erasing earlier gains.

Deutsche Bank will now face pressure to make more radical changes, such as cuts to its U.S. investment bank as advocated by regulators & some major investors. It is already looking at a deal for its asset management unit DWS.

“Deutsche Bank will continue to review all alternatives,” Germany’s largest bank said.

BIDDERS IN THE WINGS

Employees of both banks immediately welcomed the news, although a senior Commerzbank manager acknowledged it opened the door to further uncertainty as foreign competitors circle.

“It is clear that others will now come out of the woodwork with offers & ideas,” the manager told Reuters.

Doing nothing is “not an option”, Zielke has told his staff, 82 percent of whom were against a merger in an internal survey.

FILE PHOTO: Outside view of Deutsche Bank & Commerzbank headquarters in Frankfurt, Germany, March 18, 2019. REUTERS/Ralph Orlowski/File Photo

Both UniCredit & ING Groep have expressed interest in Commerzbank, which is Germany’s No. 2 lender & 15 percent owned by the government, sources have said.

UniCredit & ING declined to comment after news that talks between Deutsche Bank & Commerzbank had failed.

Some major Deutsche Bank investors had questioned the deal’s logic & were unwilling to stump up any additional cash to obtain it done, while credit ratings agencies had warned of risks.

The European Central Bank would have asked Deutsche Bank to raise fresh funds before it gave the go-ahead for a merger, a person with direct knowledge of the matter said. .

The German central bank, which helps oversee the banks, stressed their individual health, calling them sound & stable.

“This was the case prior to discussions, during discussions & now – without qualification,” Bundesbank executive board member Joachim Wuermeling said.

Deutsche Bank in addition published preliminary earnings in which it said it expects to post a first-quarter net profit of approximately 200 million euros ($223 million), beating analysts’ expectations of 29 million.

“A merger would have been an enormously complicated & protracted undertaking. In the end, reason has won,” said Ingo Speich, head of sustainability & corporate governance at Deka Investment, a shareholder in both banks, adding they urgently need to address their strategies.

Slideshow (2 Images)

Alexandra Annecke, portfolio manager at Union Investment, which in addition holds shares in Deutsche Bank, said it needs to focus on increasing profitability, particularly at its investment bank.

Deutsche Bank’s finance chief James von Moltke told CNBC that the U.S. investment bank is “a core part of our strategy”.

Gerhard Schick, finance activist at Finanzwende & a former member of the German parliament, welcomed the end of talks yet cautioned that Deutsche Bank remains “too tremendous a risk”.

“The bank is still far too large & would probably have to be rescued in an emergency,” he said, with reference to the likelihood of Deutsche Bank needing to turn to the state to keep it afloat whether it ran into difficulty.

Reporting by Hans Seidenstuecker, Andreas Framke, Arno Schuetze, Tom Sims, Francesco Canepa, Frank Siebelt; Additional reporting by Toby Sterling in Amsterdam & Gianluca Semeraro in Milan; Editing by Sabine Wollrab, Tassilo Hummel, Michelle Martin & Alexander Smith

Our Standards:The Thomson Reuters Trust Principles.

#affiiate marketing #article marketing #business online #businessNews #internet marketing #make money online #mobile marketing #video marketing #web marketing

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taleoftalespod · 4 years

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Tale of Tales | episode: 1.01 “Red As Blood, White As Snow”

Once there was a child who was the fairest of them all...

On this inaugural episode of Tale of Tales, we discuss the ways how the Grimms and Disney made fairy tales into stories for children, how beauty and value intersect in patriarchal societies, and how many creative ways you can kill a child who's in your way (spoiler alert: more than one involve apples).

https://www.buzzsprout.com/800948/2468150-1-01-red-as-blood-white-as-snow.mp3?blob_id=8132291&download=true

Guest starring Kaitlyn Millsap

Tales on this episode:

Jakob & Wilhelm Grimm, “Little Snow-White”, Children’s and Household Tales, ed. D. L. Ashliman and Lucas Brandon (1812 [1999/2019]) — 08:12-25:57

Giambattista Basile, “The Young Slave”, The Pentamerone, or Tale of Tales, ed. Nancy L. Canepa (1634 [2016]) — 28:16-37:49

Joseph Jacobs, “Gold-Tree and Silver-Tree”, Celtic Fairy Tales (1892) — 40:36-47:37

Susie Hoogasian-Villa, “Nourie Hadig”, 100 Armenian Tales (1966) — 49:12-57:12

Jakob & Wilhelm Grimm, “The Juniper Tree”, Children’s and Household Tales, ed. D. L. Ashliman (1812 [1999]) — 01:00:14-01:19:48

All Music Licensed under Creative Commons BY Attribution 4.0 License

http://creativecommons.org/licenses/by/4.0/

Track Listing:

"Fig Leaf Rag" by Kevin MacLeod (https://incompetech.com) — 02:44

"Danse of Questionable Tuning" by Kevin MacLeod (https://incompetech.com) — 05:26

"Arcadia" by Kevin MacLeod (https://incompetech.com) — 08:12, 28:16, 36:59

"Gathering Darkness" by Kevin MacLeod (https://incompetech.com) — 10:48, 13:11, 15:25, 17:49, 01:03:33

"Unseen Horrors" by Kevin MacLeod (https://incompetech.com) — 20:42, 01:16:34

"Dark Times" by Kevin MacLeod (https://incompetech.com) — 21:36, 29:56

"Fantasy Ambiance" by Alexander Nakarada (serpentsoundstudios.com) — 40:30

"Send For the Horses" by Kevin MacLeod (https://incompetech.com) — 49:12

"Wanderer" by Alexander Nakarada (serpentsoundstudios.com) — 01:00:05

Show Extras: An Odd Price To Pay

One of the Snow White stories I came across in my research that I was unfortunately unable to include in the episode was the Italian folktale “Bella Venezia”, collected by Italo Calvino. It’s both earthy and absurd, and reminds me a bit of Neil Gaiman’s book Stardust for whatever reason.

A woman named Bella Venezia runs a popular inn with her daughter, and asks travelers if they’ve ever seen anyone lovelier than herself. When they politely answer yes, she cuts their bill in half. One day, however, her daughter walks in while she’s talking to a guest, and he tells Bella that her daughter is lovelier than she is. Upset, she charges him double, and sends her daughter to live in a doorless hut by the sea.

A traveler sees her there on his way to the inn, and when Bella asks him her customary question he tells her the girl he saw by the sea is lovelier. Furious, Bella seduces the kitchen-boy and tells him if he wants to marry her he must go kill her daughter. Enamored but afraid, he takes the girl into the woods and abandons her, and then brings Bella the eyes and blood of a sheep as proof.

The girl stumbles upon an enchanted robber’s den and tidies up the place, but also eats some of their food. The twelve confused robbers stand guard each day to see who is cleaning their den and snacking on their dinner, but the first eleven don’t see the girl because she’s hidden herself inside the house. When the twelfth finally finds her, he says she can stay and be their little sister. However, one of the robbers frequents the inn and mentions the girl to Bella, revealing her daughter’s survival.

Bella promises an old beggar woman, who happens to be a witch, to give her half her fortune if she kills the girl. The beggar woman poisons a hair pin and tricks the girl into letting her jab it into her head. The robbers find the girl dead and bury her under a tree, but some hounds on a royal hunt sniff it out and unbury her. The king’s son falls in love and brings her home, and his bewildered mother asks him to at least let them fix the corpse up. In doing her hair the servants find the pin and pull it out, reviving her, and she marries the king’s son. The tale ends with:

“The wedding was celebrated. Tables were even set up in the streets. Whoever wanted to eat, ate! Whoever didn’t want to, didn’t. O Lord, a hen for every sinner! and for me, a sinner of sinners, a hen and several roosters!”

#episode #snow white #scary stories #folklore #lore #folktales #fairy tales #patriarchy

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